Les Amants de Teruel

I first saw this film in the early seventies and have sought it out at every chance I had since then. This is one of my most favorite films of all time. It will appeal to those who have a deep appreciation of the art of western Europe from the end of the nineteenth century to the thirties. The art direction is pointedly referential to these art genres. It has a condensed power and sensibility that has conceptual roots (in the story line) in films like Children of Paradise and La Strada as well as the more recent El Amor Brujo by Carlos Saura, an equally fine dance film. There are aspects of this film that will not appeal to those who expect more dialog and a less stylized presentation than this film embraces. This film is pure art on every level and an exceptional tour-d'force collaboration between the director (Rouleau), the composer (Theodorakis, famous for Zorba the Greek)and the cinematographer (Claude Renoir, son of the director, grandson of the painter). I am waiting for an opportunity to own a clean color corrected print. The tape I saw recently was in poor condition, very contrasty and color shifting. The subtitles were often white on white, which is frustrating, but in no way diminishes the power of this fabulous film.

This superb film is not only a wonderful dance film but also an art film of the best kind. Much of the art direction seems to be derived from movements in the development of modern art from the first half of the twentieth century. Though I have not seen the film in a while (only three times in all)I distinctly recall scenes reminiscent of the painter deChirico as well as perhaps the blue or mauve periods of Picasso. This film is a rare jewel.

The only other film I have seen that comes close is Carlos Sauras' El Amor Brujo.

This is the first time in over 40 years that I've discovered, by searching the IMDb database, mention of this one-of-a-kind film. I'd almost begun to believe that I was the only person in the world who reveres this film, because no one I've mentioned it to had ever heard of it, much less seen it. I saw it only once, in the late 1960s, and have never forgotten its images: surrealism brought to life in a way no other film has attempted then or since. That such a marvelous film should remain "unknown" remains itself a mystery. Perhaps if someone out there is connected in some way, any way, to Turner Classic Movies, I wish they would bring this film to their attention. TCM is the only network showing rarities from every genre of film, and "The Lovers of Teruel" would be a fine and perfect addition to their Global Imports of unforgettable "foreign" films, shown very late on Sunday nights. Wish I knew Robert Osborne personally or someone at TCM. Their loyal and dedicated audience would greatly appreciate a premier viewing of "The Lovers of Teruel."

There is hardly anything I can add to the already effusive comments by others at this site. This film is a painting in motion. Theodorakis' music beats in one's heart and the Dali-like dream sequence is unforgettable.

I first saw this film in Chicago in 1962 and again in New York the following year. A whole group of us sat through the film twice, and became obsessed with it.

For forty years, I have tried in vain to find the music, and later the tape of this film, but to no avail. It is never shown on TV and I have not been able to find it even in a New York art house for many years.

What a pity that a gem such as this should be unavailable. All I have of it is a 45-rpm recording of two of the films songs, but not the ballet.

There was another movie made, "Honeymoon," or "Luna de miel" in 1959 starring Ludmilla Tcherina and Anthony Steel which featured the ballet in a different setting, but, alas, that is also unavailable on tape or DVD.

I would be happy to spearhead any attempts to make the original film available on DVD if I knew who to contact. I once wrote to the French Film Office, but they never answered me.

This wonderful film never had a chance in this country. When it opened in one theatre in NYC, a newspaper strike that lasted several months was taking place. With no ads and no published reviews it died. I fortunately got to see the film because I happened to notice that the driving force of the film was Ludmilla Tcherina a favorite of mine since seeing her in "Tales of Hoffmann". It was put on beta video tape by Kultur, unfortunately the tape was bad as it did not use widescreen or pan & scan and much of the film was lost on the edges. This film with its wonderful music by Theodrakis deserves another